On Saturday, June 27, 2026, Dance at the Odyssey presented works by two very talented Los Angeles based choreographers Ricky Medina and Taylor Donofrio. Medina described himself accurately as a Hip-hop practitioner where as Donofrio’s movement was more modern/contemporary dance based. Both, however, presented works that contained strong elements of theater.
The first half of the evening was choreographed by Medina and although it was separated into two short works in progress and one completed one, the three pieces were seamlessly strung together without a pause or interruption. Medina managed to keep the energy flowing while making it clear where one dance ended and the next began.
Ricky Medina – Photo by Gregory Crosby.
Ricky Medina also powerfully performed “The Life of Ricardo pt.1” dressed in black pants, a black Folklórico style short sleeve shirt, and what I can only describe as death face makeup reminiscent of Mexico’s Día de los Muertos (Day of the Dead) masks. The solo resonated despair, perhaps due to the loss of a friend, family member or having lost his own life while beautifully incorporating Street Dance techniques into his acting.
“Warpath” was choreographed by Medina and performed by Brenden “Rucboi” Hodge, Di’Antay “Shazzam” Smith, and Risa “Flower” Kunita, three members of Demolition Crew “DCX”. Here Medina took a look at the inner thoughts and emotions of three people on their way to war. It was not clear if it was a street gang war or a national war, nor was it necessary to know. The entire unfinished dance transpired on a diagonal from upstage right to downstage left with each dancer stepping just outside the path to perform their solo. This work in progress was far too brief to review but I was intrigued enough to want to see the finished product.
Ricky Medina – Photo by Las Peloch.
“Mighty Praise” was like watching a Hip-hop battle and reunion in the afterlife. Dressed in street clothes, each of the dancers took turns displaying their best moves with their colleagues cheering them on while surrounding them in a half circle. The end of one solo became the beginning of the next and each dancer received more than one turn.
One woman, Aaliyah Ybarra, remained as the rest left the stage and we watched as she beautifully performed a lengthy solo filled with a mixture of sadness and joy. From there Medina’s exposure to other styles of choreographic structure took off gracing the stage with a wonderful blend of group unison sections that splintered off into solos, duets and more all happening at the same time. Here too, Medina understands how to direct the audience’s eye and have them see what he is mainly focusing on within the organized chaos. He knows and understands timing, pacing and theater.
The dancers listed in the program were Aaliya Ybarra, Elisa Murray, Fransheska Martinez, Jade Madrigal, Kayla Castellon, Kylie Estrada, Lauren Kay, Marisol Palacios, Matthew Manuel, Rachel Olivier, Ricky “Bucky” Medina, Brenden “Rucboi” Hodge, Risa “Flower” Kunita, and Di’ Antay “Shazzam” Smith.
Dance at the Odyssey – Mandolin Noelani Burns-Ferner and Lena Martin in BETTY, Choreography by Taylor Donofrio- Photo by Christy He.
Following Intermission, Taylor Donofrio’s extraordinarily thought-out work, “BETTY” kept my attention from beginning to end. Many works have been presented about how men and society force women to fit into stereotypes, but Donofrio’s was just enough outside the box to appear unique. This was dance theater at its finest beginning with a woman, Lena Martin, dressed in dancewear that resembled a one-piece bathing suit balancing a stack of white plastic plates on her head. Near her sat another pile of these plates and occupying center stage were two white square boxes, each supporting a tall metal pipe.
Representing how most women have to balance many different roles, Martin proceeded to slide and crawl around the space removing one plate at a time until she arrives back where she started and begins the whole process again.
Dance at the Odyssey – Mandolin Noelani Burns-Ferner in BETTY, Choreography by Taylor Donofrio- Photo by Christy He.
Entered Mandolin Noelani Burns-Ferner to connect the two poles with a clothes line (clothes pins attached) and began washing a piece of clothing in a silver wash pail. Using the magic of theater, Donofrio distracted me away from this scene long enough for Burns-Ferner to hang up a white silk slip and leave. She later returns and while juggling dancing, acting and several props, Burns-Ferner masterfully executes the role – and frustrations – of a suburban housewife.
Liessa Son’s stationary solo was filled with poses that depict sexuality and insecurity of the “ideal” female body. At one point we hear “Smile like you’re having fun.” This came across as humor but it was also sad, infuriating and a poignant statement on how women have been treated for eons.
Dance at the Odyssey – Mandolin Noelani Burns-Ferner, Lena Martin and Liessa Son in BETTY, Choreography by Taylor Donofrio- Photo by Christy He.
“Betty” develops into wonderful trios, duets and solos which take place primarily on the floor. Poses that are sexually suggestive as well as positions women must take during visits to their gynecologist or during childbirth. Donofrio shows all sides of the issues in “Betty” and for this viewer, I wanted to get up and join the Women’s March for equality.
Dance at the Odyssey – Lena Martin, Liessa Son and Mandolin Noelani Burns-Ferner, in BETTY, Choreography by Taylor Donofrio- Photo by Christy He.
Thank you Barbara Muller-Wittmann and Beth Hogan for bringing these two artists to your stage and for all the other dance artists that you have and will present on Dance at the Odyssey.
The strong lighting for both works was by Festival Lighting Designer Katelan Braymer.
Dance at the Odyssey continues through July 5, 2026: July 2, 2026, 8pm – Maggie Ogle’s Thresholds; July 3, 2026, 8pm – Cora Laszlo’s Gambiarra Imaginary Solutions for Love; and July 5, 2026, 2pm – Tanz Tanz Revolution’s (TTR) Sonder and Katie Tuchi’s DOUBTING THOMAS.
For more information and to purchase tickets, please visit their website.
Written by Jeff Slayton for LA Dance Chronicle.
Featured image: Dance at the Odyssey – Liessa Son, Mandolin Noelani Burns-Ferner and Lena Martin in BETTY, Choreography by Taylor Donofrio- Photo by Christy He.
